TIME IS LUCK
My Grandpa Longines,RIP
My most Expensive buy,1997,CITIZEN Promaster Titanium AA5440
My first CITIZEN ,it was 1990,still ok…
Waiting for the showtime start 6 November here in Italy finally I can press play over this interesting Soundtrack produced by Michael Mann Himself over Decca Label(B00013072-02) for his latest effort where Johnny Deep plays John Dillinger, famous gangster lived in to 30’s around US Midwest
Main compositions committed by restored and very original Elliot Goldendthal, back to scoring after 6 years since his last teathrcal work(SWAT) but involved in to the production of his opera GRENDEL and for the Beatles music of Across the Universe; This time is back to work with Michael Mann after HEAT(1995) and we see him employed to conduct a big orchestra with more than 70 elements.(Open and look at the booklet inside)
A powerful soundtrack in to the original compositions but reveal itself a fine blend with other songs, fine as the best Whiskey(call it burbon)of the after prohibition era
Start the soundtrack the terrific TEN MILLION SLAVES by Otis Taylor from Recapturing the Banjo(2008) and repeat his talent with another one on position 10 NASTY LETTER from Truth is not Fiction(2003),a real genius this contemporary bluesman from Chicago.
Least of all the Track #2- CHICAGO SHAKE by Bruce Fowler Big Band(2008),Fowler is one of Hans Zimmer orchestrator, and tracks #8- BYE BYE BLACK BIRD from Mrs. Costello Diana Krall , sing over arrangements by Goldenthal Himself this new version of a classic tune, amazing track, no less than this incredible rarity hypnotic that we can listen on track #12 – GUIDE ME O THOU GREAT JEHOVA, original recordings by Old Regular Baptist overlay by Elliot Goldenthal orchestrations.
As I note,I would point out the orginal compositions, powerful,different, miser of usual Goldenthalisms and in my view meet its best with the track #15 – JD DIES,this is the Opera Omnia of that outstanding soundtrack, death track that has reminiscence to Antonio Pinto ‘s “Requiem” from Collateral but could also remind a little bit of “Finale” from Titus Soundtrack. For what concern the last 6 track composed by Goldenthal I feel to draw a personal ranking from my tastes,# 7 LOVES IN THE DUNES, #3 DRIVE TO BOHEMIA,#5 BILLIE’S ARREST,#13 GOLD COAST RESTAURANT,#9 PHONE CALL TO BILLIE ,#11 PLANE TO CHICAGO(this latter remind me for a second to a famous Ruggero Leoncavallo’s opera)
A Memorable Soundtrack, excellent also in to sound record matter ,and keep in to 47 minutes of length a immense narrative’s soul , a real must for whom is following Michael Mann also in his musical Choices ,choices super visioned also here (since Collateral soundtrack)by three daughters as musical consultant Aran,Becca and Jessie Mann.
At the end of my short review the chronological sequence of the tracks used in to the feature with some happy surprises ,from rejected tracks HANNA SHOTS NEIL composed by Elliot Goldenthal for Heat’s final sequence,passing by BEAM by John Powell’s Thin Red Line directed by Terrence Malick till the tracks AFTER THE SHOOTING by Gustavo Santolalla for the soundtrack Things we Lost in Fire directed by Susanne Bier,and last but not the least THE LAST ROUND UP by Gene Autry sing by Johnny Deep after Jail Escape and than present again in to end credits.
Images and music, a functional soundtrack that helps to convey the magical power of author’s cinema by a Avant Garde Filmmaker as Michael Mann, he is able to give us ability to touch,taste what we watch on the big screen everything in its cinema turn more tangible , real because his stories and the way of tells us are set up and feeding of realism ,and this soundtrack really seems open a space time window on the musical background of that times
Thanks to reelsoundtrack
• After escape, packing at farm – Guide Me O Thou Great Jehovah by Indian Bottom Association Old Regular Baptists
• Chase in the woods – Ten Million Slaves by Otis Taylor
• Dinner song – Chicago Shake by The Bruce Fowler Big Band
• Second dinner song – Ballroom Bounce by The Bruce Fowler Big Band
• Dance with Billie – Bye Bye Blackbird by Diana Krall
• Walking into the hotel & coat check – King Porter Stomp by Benny Goodman ; His Orchestra
• (Unknown scene) – After The Shooting by Johan Soderqvist and Gustavo Santaolalla
• Kiss, love scene – Love Me Or Leave Me by Billie Holiday
• Bank robbery – Instrumental version of Ten Million Slaves by Otis Taylor
• Tucson hotel, after racetrack – The Man I Love (Life from Carnegie Hall) by Billie Holiday
• In car after broke out of jail – Nasty Letter by Otis Taylor
• Radio song in Billie’s apartment – Am I Blue? by Billie Holiday ; Her Orchestra
• Talk about going to Caracas – Bye Bye Blackbird by Diana Krall
• (Unknown scene) – Close Your Eyes by Al Bowlly with Lew Stone and His Orchestra
• At the bar, fixing deportation – Dark Was The Night, Cold Was The Ground by Blind Willie Johnson
• (Making Shirts) – Hanna Shoots Neil by Elliot Goldenthal
• (Walter Dies) – Beam by John Powell
• Closing credits – The Last Round Up by Gene Autry
• Original music for Public Enemies – Eliot Goldenthal
1 Ten Million Slaves / Otis Taylor 4:09
2 Chicago Shake / Bruce Fowler Big Band 3:10
3 Drive to Bohemia 1:11 Elliot Goldenthal
4 Love Me or Leave Me / Billie Holiday 3:21
5 Billie’s Arrest 2:20 Elliot Goldenthal
6 Am I Blue? / Billie Holiday & Her Orchestra 2:52
7 Love in the Dunes 1:50 Elliot Goldenthal
8 Bye Bye Blackbird / Diana Krall 3:47
9 Phone Call to Billie 1:44 Elliot Goldenthal
10 Nasty Letter / Otis Taylor 5:05
11 Plane to Chicago 3:24 Elliot Goldenthal
12 Guide Me O Thou Great Jehova / Indian Bottom Association Members 1:37
13 Gold Coast Resturant 2:04 Elliot Goldenthal
14 The Man I Love / Billie Holiday 3:07
15 JD Dies 3:56 Elliot Goldenthal
16 Dark Was the Night, Cold Was the Ground / Blind Willie Johnson 3:19
From brazilian composer Antonio Pinto,This is the most moving,beautiful song I have ever heard in my life,it comes from the soundtrack of Abril Despedaçado(Behind the Sun 2001) Directed by Walter Salles.
THIEF Recorded 1980,Chris Franke’s Studio Berlin
Mastered George Piros all Composition by Edgar Froese,Chris Franke,Johannes Schmoelling Execerpt Confrontation by Craig Safan
Thank to Music Techology Inc for GDS Computer Instruments and Roland,Japan.
Direction TWM Management Bill Dern
Produced by Michael Mann and Tangerine Dream
1981 Elektra Records 5E-521
2004 Wounded Bird RecordsWO 521
- Beach Theme 3:44
- Dr. Destructo 3:18
- Diamond Diary 10:48
- Burning Bar 3:11
- Scrap Yard 4:40
- Trap Feeling 2:57
- Igneous 4:45
- Confrontation 5:44 Composed by Craig Safan
FROM MY SAMPLE “MANN OF SCORES”
In the Virgin edition the sound track Confrontation (composed by Craig Safan), used for the final gun fight between Frank (James Caan) and Leo (Robert Prosky), is omitted, apparently, by order of Edgar Froese, leader of the electronic rock group Tangerine Dream (born in the ‘70s in Germany), more inclined to produce an album exclusively of their pieces.
The wonderful post rock piece, whose player is “still unknown” and that vaguely recall Confortably Numb by Pink Floyd, has been replaced by another passage of a different kind and, equally great, called Beach Scene(Virgin Remastered reissue Tand 12).
Anyway, it is possible to draw some conclusion, both for the style rendered in the album Force Majeure and for the fact that played but not composed works are often omitted (in The Keep it is possible to notice that twice); such elements make us think that Tangerine Dream themselves have performed it.
As a result of my enquiry at ASCAP (American Society of Composers, Authors and Publishers) my hypothesis has been confirmed.
Anyway, the website voices in the net by Michael Berling quote this:
Thief was the second big Hollywood film that TD worked on after
Friedkin’s Sorcerer. Michael Mann was professionally prepared and knew precisely what he wanted. Up to this point, no one had ever used a sequencer for this category of movies. Sorcerer, which was the first film in which sequencers appeared, took place in very strange primeval
forest. Many people did not even really notice the exotic music. But
Thief took place in a normal thriller setting – here the music was
once unusual. This score was and is one of the most unusual of its
kind for American film, and TD received many offers after.
Michael Mann, who the band later worked for on The Keep, really helped TD quite a lot on the way when he offered this film to them.
There were two versions of the album; only the US release from 1981
included the track Confrontation that was composed and performed by
Craig Safan. All other worldwide releases featured the composition
Beach Scene (itself an extended version of the opening title Beach
Theme) instead, though, by mistake, the US track listing was printed
on the covers of some of the first releases.
There have been rumours that Confrontation was composed by Safan but played by TD, as the cover information suggests, but issue #9 of the newletter of TD’s now defunct official fan club (TDIFC) clearly
states: “During the time Michael Mann was editing and dubbing the
movie Thief, TD played some gigs in Italy. Michael rang them in
Venice and asked for a final guitar sequence which should close the
movie. There was no time for the band to step into an Italian studio
to record such a piece of music. What’s very unusual for TD,
happened. Michael had to ask an LA based guitarist to compose what’s
called later Confrontation on the record. It had to have playing
technique and a TD sound. Virgin records, who did the release of the
record outside the States, didn’t like the piece or the whole
procedure. It was done and taken off the tape. Business as usual!”
In the film, starting from the first talk between Frank and Leo and during the scene in the bar where the former quarrels with a very young William Petersen (Detective Will Graham in Manhunter), it is played Turning Point by the Mighty Joe Young (Album Live at Wise Fools Pub), with Willie Hayes,the band leader percussionist also in real life. However, in the music credits there is neither the title nor the author of the piece.
Willie Nelson, actor and famous country singer, has a small part in the film as Okla while Willie Dixon, bluesman in the Chicago area, appears in a short cameo in a wonderful scene both for colours and shade, cut off in the movie edition.
Finally, a note about the piece Igneous also included in the above mentioned “Force Majeure”; in this latter, slightly readapted album it is named “Thru Metamorphic Rocks” and it contains a part not present in the album but used in the film, and precisely when Frank is driving to
the car showroom unaware that some Leo’s hitmen (among whom “Carl” Dennis Farina) are waiting for him.
I would say for close this little analysis that Thief is Miliar stone in to field of 80’s soundtracks that keep alive its impressive electronic post rock modernism
IF YOU ARE LOOKING FOR THE SOUNDTRACK THIS IS THE BEST ITEM YOU COULD BUY From ORANGE RECORDS..20th Anniversary editon GREAT TRACKS , BUT HARD TO FIND NOT IMPOSSIBLE